"Documented"
officially unreleased songs written by the Pet Shop Boys

The following titles have
been mentioned in various places (most notably at the
official PSB website and in their fan club publication Literally, the
two main sources of the information that follows) as songs that Chris and Neil
have written but haven't yet completed and/or formally released. In some cases they're early titles for songs eventually released under a different title, included here just to "cover the bases" since such titles are sometimes cited as unreleased tracks. I don't, however, include
songs written by others that the Boys have recorded in unreleased cover versions,
such as "Homosexuality" and
"So Long, Farewell."

If I've heard
the song and am familiar enough with it to offer detailed commentary, a link is
provided to its entry in the "Unreleased Tracks"
section of this website. Otherwise, I offer just a few lines of what little
I know about it from what I have read or have learned from others.

A Roma

The early instrumental demo for "I'm Not Scared." I can't help but wonder whether the title, Italian for "In Rome," was meant as an malodorous pun.

About Time

Originally titled "Multi-Kulti," Chris and Neil wrote this song in February 2011. German chancellor Angela Merkel served as its lyrical inspiration. Neil considers it "quite a nice song," so chances are good it will see the light of day at some point.

Backburner

The
name of this unreleased track strikes me as a "placeholder" (because
this recording is, for the time being, on the "backburner," awaiting
further development?) until Chris and Neil can come up with something permanent.
In all likelihood it doesn't yet have lyrics. It's very important to note that a track titled "Back Burner" and seemingly attributed to the Pet Shop Boys has turned up online, but that this is not the actual PSB track; rather, it's an extremely clever "construction" created by someone using samples of Neil's voice and Auto-Tune (or something like it).

Balkan Beats

Originally an instrumental track composed by Chris around the time he and Neil were working on Elysium, it soon evolved into the song "Hell" when Neil realized that a concept and lyrics he was separately working on might go well with Chris's composition.

Chris composed and recorded the basic backing track for a song by this title in December 2011.

Beautiful
Beast

An early and
"quite funny" song ("totally camp nonsense" according to Neil) that hasn't yet been completed. The Boys wrote it around the same time they recorded "Love Comes Quickly." It includes the line "Then you caught me there within your snare, you beautiful beast."

Before
My Time

Almost
nothing is known about this track aside from the fact that Neil and Chris wrote
it in April 1998 and that, in Neil's words, it "was meant to sound like Air" (a
somewhat arty French synth duo). A supposed demo instrumental version has been
floating around on the Internet for years, but from all indications that track
is not by the Pet Shop Boys. Another alleged demo identified as "Before My Time" surfaced in late 2009, but it turned out actually to be the instrumental track for the 1986 release "Innocent Love" by the German singer Sandra.*

*I'm both fascinated and repulsed by the fact that somebody at some point must have made the conscious decision to take a recording that they knew full well wasn't by the Pet Shop Boys, attach the documented name of an unreleased Tennant-Lowe song, and then foist it off on others as an unreleased PSB demo. If they did it in an attempt to make money, it's certainly contemptible but at least understandable. But if they did it with no profit motive in mind but simply to derive some sort of perverse pleasure over having deceived other people, then that seems almost incomprehensible. In fact, it makes sense to me only if I think of it as an expression of pure, naked evil, albeit of a remarkably petty nature—sort of a mosquito Hitler.

Little
is known about this track except that it apparently stems from the Nightlife period and, according to Neil, "starts off with something
like Elgar and was intended by Chris to sound like Divine."

Virtually nothing is known about this reported track, although it seems extremely likely that it's an early version of the song that became "Casanova in Hell."

China

The
Boys wrote this in mid-April 2005. No other information is available at this time
aside from the fact that, perhaps aptly inspired, they immediately afterward had
a Chinese dinner with Gary Barlow.

Clean Air Hybrid

Written in January 2015, inspired by Neil having noticed a "clean air hybrid" bus while talking a walk in New York City. "It's a little bit psychedelic," he says.

Cloud-Dweller

This song from November 2014—which Chris has described as "trance-y… a bit like Patrick Cowley" and "probably not very good"—borrows its title from a phrase used by Joseph Stalin in disdainful, dismissive reference to writer Boris Pasternak, meaning someone (to use the common English-language metaphor) "with his head in the clouds."

Collector's Item

Again from the Super period, originally an electroclash track titled "Punk" that with changes in style and lyrics evolved into "Into Thin Air." (Among the scrapped lyrics were "Collector's item, suitable for framing.")

The
Day Before Tomorrow

Written
during the Fundamental sessions, this
track underwent a good deal of evolution and a number of title changes (including
"Introduction") before Neil and Chris eventually settled on "God
Willing."

Dead
of Night

This
has sometimes been cited as an unreleased Tennant-Lowe song, but it's probably
not really "unreleased" at all. Rather, it's almost certainly an early
"demo name" for what became "Jealousy"
("At dead of night, when strangers roam .").

An erroneous title supplied by producer Bobby "O" Orlando for an early version of "A Man Could Get Arrested," recorded in 1984.

Don't Go

Not a cover of the Yazoo hit from 1982, but an original composed by Chris in 2014. The Boys recorded a demo of it in Berlin that November.

A Dream

The Boys wrote and worked on this song in December 2011 during their demoing sessions leading up to the recording of Elysium. It's very likely—but at this point unconfirmed—that this number evolved into "Inside a Dream."

Dreaming

Written
in March 2008. Neil and Chris professed in mid-2009 to remembering nothing about it aside from a brief reference in Neil's diary.

Even

A song written in early 2008, which the Boys seriously considered incorporating into The Most Incredible Thing. Whether they actually did is uncertain at this point.

Every
Little Moment

An
alternate title sometimes cited for a song probably more accurately titled "For
Every Moment."

Everybody Will Dance

Written during the sessions for Super. Chris has said that he and Neil have decided against recording it themselves because they feel it's "a little young" for them. So they're of a mind to offer it to someone else more age-appropriate.

Fat
Northern Bastards

Chris
proposed recording this humorous song with UK TV/radio/recording personalities
Ant and Dec. A very brief excerpt can be heard on the About Pet Shop Boys double-disc set released to their fan club members in the late 1990s. Chris says there that it includes a sample lifted from the Beach Boys' "Barbara Ann"—the "ba-ba-ba" vocal—which then morphs into the word "bastards." The Boys seem quite fond of it, but I'll be surprised if it's ever officially released.

For
Every Moment

Originally
written in 2003 and further developed in early 2005, this track exists in at least
three different versions. Chris and Neil—in their own words, "never happy
with it"—passed it on to the band Alcazar. But it didn't appear on the Swedish group's next album, 2009's Disco Defenders, which does include another PSB-authored track, "Baby." Unfortunately, considering that Alcazar has now disbanded indefinitely, the release of this song seems increasingly unlikely. (Incidentally, the title has alternately been reported as "Every Little Moment.")

The Forgotten Child

A song from the Super sessions. Chris has mentioned it as a candidate for a future "dark techno album" that he and Neil are seriously considering.

Franglais

This
song was reportedly "written around the time [the Boys] were still trying to rip-off
the group Air's sound."

Friendship

A lyric that Neil had written around 2007, possibly never set to music—that is, not until he and Chris decided to use at least part of it as new lyrics for their "Possibly More Mix" of "Did You See Me Coming?"

Get
On It

Recorded
in April 1995 during the Bilingual sessions, but left unfinished. The Boys were considering it as a track for Ian
Wright. "It's really good, that one," noted Chris.

Get
Over It

Not surprisingly (considering the final lyrics), an early working title for "Legacy," which Neil and Chris worked on in early 2008.

Give Me the Moonlight

Reportedly an early title for the song that ultimately evolved into "Delusions of Grandeur," inspired by the fact that the chord progression is based on Beethoven's Moonlight Sonata. It's possible—though by no means certain—that the title may also have been a nod to British singer Frankie Vaughan's big 1955 hit "Give Me the Moonlight, Give Me the Girl," which became his signature tune.

Gramophone

This song, written in February 2015 and worked on early the following month, was originally titled "Former Children."

The Grind 2

The title assigned by the Boys to their demo recording of a piece of music that opened Act 3 their ballet The Most Incredible Thing. This demo, however, had a "world premiere" of its own in early July 2010 as an audio component of "Room Divider," a group exhibition of new works at the Wilkinson Gallery in London. In a modified form it eventually came to be titled "Back to the Grind."

Heads Will Roll

Chris and Neil wrote this song in February 2011. It was considered a candidate for inclusion on Elysium (co-producer Andrew Dawson was, in Neil's words, "rather keen" on it), but they were unable to finish the recording of it on time.

Heaven Is a Playground (aka simply as "Heaven")

An early version of "Leaving" with a different chorus and lyrics that Neil and Chris worked on in January and February 2010.

Hello Hello

Neil's diary (as revealed in the January 2013 issue of Literally) noted that he and Chris had worked on a song by this name in the autumn of 2011, although they profess to remember nothing at all about it. "It's obviously changed its name," says Neil.

He's Not Coming Home

Demoed by the Boys in Berlin in November 2014.

Hey Tito

Virtually
no information has been released about this track aside from its simple yet cryptic
title and the fact that the Boys apparently wrote it in the late 1990s.

Home

The original title of the song that appeared on the album Release as "Here." It was written for their musical Closer to Heaven but dropped. "Home" actually seems like a better title than "Here," but Neil and Chris probably made the change on account of the inclusion of the song "Home and Dry" on Release as well.

Hope

Probably
written solely by Chris, this was to have been another recording with Ian Wright,
a follow-up to "Do the Right Thing." But
it was never completed.

How
Lucky I Am

Composed in its original form during
the Bilingual sessions—and on occasion referred to with the slightly altered title "How Lucky Am I?"—this song evolved several years later into "The Night I Fell in Love."

I
Can Always Rely on You to Let Me Down

The Boys
started work on this song in the mid- or late eighties, around the same time as "It's a Sin," but apparently haven't yet finished it. But they like it well
enough (it's "a funny, catchy one") that they haven't given up on the prospect of finalizing and recording it. By his own admission, Neil is especially keen on completing and releasing it at some point, often suggesting that they do so.

I
Need You

I'm
not even 100% sure that this is the actual title, but a brief segment of its demo
played during a PSB radio documentary in the late 1990s. The only words were Neil
singing "I need youah, ah, ah, ah." He described it as "very
eighties-sounding," to which Chris rejoined, "I always liked that."
He then added, "I don't think we're eighties enough!"

I Will Fall

Written in July 2015 during the period leading up to the recording of Super. Neil says that it was the last song that he and Chris composed for the album, although of course they decided against including it. It's a love song that Neil "can imagine George Michael singing."

I'm in Love with a Woman

An early song that the Boys had written for a duo who called themselves "The Hudsons," of which their manager at the time, Tom Watkins, was a member. Watkins had apparently suggested the title, which he thought would be terrific (and somewhat risqué) for a "gay disco record." But after Chris and Neil had at least partly written the song, Watkins changed his mind about it. So they decided to repurpose the music and the "Passion, love, sex, money…" bit from the original song, turning them into "Paninaro."

I'm Not Crying I'm Laughing

Written in March and April 2008 during the Yes sessions, this song evolved into "All Over the World," though the final lyric and melody are completely different. "It had the same introduction," according to Neil, adding, "the 'oh-way-oh-oh-way-oh' was all there."

If Anyone Can, the Action Man Can

Early in the Nightlife sessions Chris had suggested that he and Neil should write an "answer song" in response to the 1997 hit "Barbie Girl" by Aqua. So they began working on a musical tribute to the late sixties and early seventies cartoon/action figure Action Man, a licensed copy of the American "G.I. Joe," renamed as appropriate for the U.K. market—in essence, a "Barbie for boys." But Neil and Chris avowedly found the end result too embarrassing to release. (See? – They really aren't "Shameless" after all!) Instead they repurposed some of the music into what eventually become "I Don't Know What You Want But I Can't Give It Any More." A short snippet, however, of the original track—its title phrase about Action Man—wound up in a couple of officially unreleased David Morales "I Don't Know…" remixes.

An early demo of "Up Against It." This was almost certainly never seriously considered as the final title and was probably only used by the Boys to refer to the instrumental track before Neil had written lyrics for it.

It's
Not a Crime

An
early song that was on the demo tape that Neil gave to Bobby O when they first
met in 1983. Little else is known about it, although of course the title phrase
would crop up again in "Left to My Own
Devices." Neil has in fact confirmed that he very consciously borrowed some of the lyrics from "It's Not a Crime"—from the final verse, to be precise—for portions of the latter song: "It's not a crime when you look the way you do/The way I like to picture you."

It's
Up to You

A primarily instrumental track from the recording sessions for Very that the Boys by their own admission "struggled with." They overcame their difficulties by merging it with another, much older unfinished song to turn it into "One in a Million."

I've
Got Plans Involving You

In
Chris Heath's book Pet Shop Boys, Literally, he briefly quotes Neil (on
page 116 of at least some editions) about this unreleased song: "Sometimes
the inspiration behind a song is something funny, though often the song itself
isn't remotely funny. When I was at Smash Hits, the one everyone
liked like that was one called 'I've Got Plans Involving You.'" So obviously
this song dates back to the very early days of the Tennant-Lowe partnership.

Kaputnik

Composed by Chris in February 2015, after which Neil provided "chant vocals." The title is a slang term for something that has proven a failure or that otherwise doesn't meet expecations, derived from the Russian words kaput (meaning "broken" or "useless") and Sputnik (the famed 1957 Russian satellite, the first man-made object placed into orbit, the name of which means "traveling companion" or "fellow traveler"). Its choice is possibly a reflection of Neil's ongoing fascination with Russian culture.

Keeping My
Fingers Crossed

A
very early Tennant/Lowe song, written pre-fame, that Neil says had "the same
umba-umba rhythm" as New Order's "Blue Monday"only the Boys
had written it before they had ever heard that song. As a result, hearing "Blue
Monday" for the first time made Neil, as he puts it, "a bit depressed."
In fact, as Neil notes in a brief segment on the DVD The New Order Story,
he told Chris that they should simply give up working on it because New Order
had, in effect, beat them to the punch. So this song was never actually completed. (In his 2017 book Substance: Inside New Order, former New Order bassist Peter Hook talks about all this but refers to the song by the slightly different title "I'm Keeping My Fingers Crossed.")

King of Pop

A title that Neil and Chris used for "King of Rome" for a while in early 2008. They first wrote it as "King of Rome," retitled it "King of Pop," and ultimately returned to its original title. Speaking before Michael Jackson's death, Neil conceded that he "was thinking what a tragic figure Michael Jackson is, endlessly roaming the world." As prescient as that is, the Boys are probably quite glad that they decided against using this title and taking the song in that direction.

King's Lament

An instrumental segment composed by the Boys for the second staging in 2012 of their ballet The Most Incredible Thing. It has been described by the orchestrator, Sven Helbig, as "four minutes of desperate orchestra music," and its melody is reportedly a variation on that of the released ballet track "Help Me." Although it has of course been heard by those who have attended the live ballet in its "rejiggered" form, this particular piece has yet to be released in any recorded format.

Life's
Hard

Even
the title of this one is uncertain, although "Life's hard" are apparently
the first words. In Chris Heath's book Pet Shop Boys, Literally Neil briefly
describes this very early number: "Our first Bobby O-influenced song."

Limbo

Chris
and Neil worked on this song in December 2000. Neil has described it as "really good track but it's only half-finished."

Little
Boy Lost

Neil
has mentioned this as an unreleased song from which he took the line "So
afraid, plays the machines in the arcade" for "Birthday
Boy." For this reason it will now probably never be completed and released.

A
track dating back to the eighties, described as "elegiac but danceable" with "a
really gorgeous tune." It was at one time a serious candidate for inclusion on Behaviour. The Boys decided against finishing it in its original form, however,
because it employed a "list of famous names" device, but Madonna then beat them
to the punch with "Vogue." Neil has stated that it subsequently "turned into"
"A Red Letter Day."

Loop #125

The "placeholder title" for an early version of "KDX 125," recorded as a demo in 1992.

The Lost Room

This song was written during the period 2014-2015 along with others that found their way onto Super—and very nearly made it onto the album itself. Neil has suggested that it will somehow be used as a "bonus track," although precisely when and how that bonus will be made available hasn't yet been revealed. Chris refers to its style as "techno," although he has also noted thaty they've recorded more than one rendition, including what he describes as "a jazz version." In Neil's words it's "an extremely dark song" based on 1906 novel The Confusions of Young Törless by the Austrian author Robert Musil (and the 1966 German film based on it, and Young Törless), about how boys bully each other in an Austro-Hungarian military school around the turn of the last century.

Love
and War

First
recorded in Glasgow as a demo while the Boys were writing songs in 1989-90 for Behaviour. Chris and Neil worked some more
on it several years later during the Bilingual sessions, but as of November 2003 (when Neil answered a fan question about it
on the official website)
they still hadn't finished it. "But," Neil added, "we probably
will one day." On another occasion he described it as "a rock song" and said that he has always imagined Canadian rocker Bryan Adams singing it. Included among the lyrics are the lines "Now you know the score / That all is fair in love and war / And this is a war.”

Reportedly
somewhat in the style of Massive Attack, this track has been described by the
Boys as having "really nice string bit and such a loose feel that you don't want
to do anything with it to spoil it." Their first attempt to record it was in April 1995, but it apparently remains unfinished to this day.

Making Waves

A still-unfinished song that the Boys began writing in June 2011 while touring with Take That.

Melancholy Melody

Simply Chris playing an original melody on the piano, recorded "live" on a cassette recorder. It lasts a little less than 2½ minutes. The title is undoubtedly a placeholder.

Method in Your Madness

Composed in February 2015 during the Super sessions, Neil has noted that this song is a strong candidate for inclusion on their next album. Its lyrics are adapted from old, unused ones written by Neil way back in 1983. They've said it's very "poppy" and sounds like "Pandemonium, Part 2."

Mid-life Crisis

Chris
and Neil wrote this for their musical Closer
to Heaven but decided against using it. It was meant primarily to help
the audience get to know the character Vic a little better.

Monkey Business

The Boys worked on this track during their recording sessions for Super. It must bear a strong similarity to the released "Pazzo!" because when Neil first heard it he thought Chris had produced it as a remix of that number. But Chris corrected him, describing it as "a new track using the same sounds."

Moronic

An instrumental written by Chris in January 2008. He titled it "Moronic" because, in his own words, "it is." It eventually evolved into "The Grind," an early segment of The Most Incredible Thing. As Chris said in the July 2009 issue of Literally, "It worked because it's during the daily grind of everyone's existence in this town [the setting of the ballet's storyline], so the moronic quality fitted the daily drudge."

Munich

An instrumental composed by Chris in his Munich hotel room (hence the title) during the Boys' 2011 tour with Take That. A few years later, he and Neil decided to use it as the musical foundation for the song that became "The Pop Kids."

My Side of the Story

Party written in 2007 as a possible submission to Madonna. The Boys worked on it some more in April 2008, but as late as 2017 it has remained unfinished. They seem to think quite highly of it, however, so chances are good that they'll complete it at some point. It includes a reference to "sex [sic] o'clock in America" as well as the lines:

I used to have a boyfriend
He used to have a girlfriend
Nobody ever understood
My side of the story

Nearly But
Not Quite

I
know nothing about this reported Tennant-Lowe track aside from its title.

A
New Boy in Town

According
to Neil, he and Chris wrote this song right around the time they recorded "Rent."
They had originally planned on recording it with Patsy Kensit, but nothing came
of it. Neil has described it as "mega sloppy," adding, "The idea
is that there's this boy in town and all the girls fancy him and want to know
who he is." It includes the lines—

You phone up your best friend
She's seen him as well
A new boy in town
He's always seen around
No one knows his name
But everyone feels the same

The Next Big Thing

Neil has mentioned this as a song that he and Chris wrote with Xenomania during the 2008 Yes sessions. He describes it as "actually quite good," so it may yet appear at some point. The chorus goes, "Something tells me, baby, you're the next best thing…." (That's a [sic] on "best" as opposed to "big" according to Literally 34.)

Night and the City

A song that the Boys wrote in the spring of 2011 following Neil's inspiration from having just watched the 1950 film noir of the same name.

Primarily
a "Chris track" in a swingbeat style—apparently Chris sings lead in the verses, though Neil sings the chorus—this was recorded during the Nightlife sessions. Originally titled "Get Up on It," it took George Michael's "Fastlove"
phrase "Gotta get up to get down" and reversed it, stating "You've got to get
down to get up." But the Boys never got around to finishing it and ended up repurposing portions of it (such as its "Burn this disco down" chorus) for their Super track "Burn."

This song, originally titled "You Are the One," was written in January 2015 during the period leading up to Super. But the Boys decided to hold it back for likely inclusion on the next album after that.

Mentioned as unreleased in the January 2013 issue of Literally, quite possibly the same song as one that Neil had previously spoken of titled "We're Not Going to the Opera" (see below).

Other Things

Unfortunately I don't know anything about this one aside from its reported title.

The Out Crowd

An early title for a song, started in February 2011 and worked on during the following summer, that evolved into "Hell." The title, however, was repurposed and surfaced once again during the Super sessions, this time applied to a different "techno-y" that had previously been titled "Fruit and Flowers." The lyrics, according to Neil, are a takeoff on the pop classic "The In Crowd," which went "I'm in with the in crowd." In this case, however, it's about going "out with the out crowd."

An instrumental written in January 2008 that Chris has described as being "adventurous musically." At one time the Boys alluded to it possibly going into The Most Incredible Thing, although whether it actually made it into the score remains to be seen.

Pet Shop Noise

An unreleased instrumental the Boys recorded in 1984 with their first producer, Bobby "O" Orlando. Despite the similarity in titles, it's completely different from the released track "Pet Shop Boys." And although it is fundamentally an instrumental, it does include lines spoken by Neil—excerpts of lyrics from other unreleased songs that he and Chris had already written at the time.

A song that Chris mentioned in early 2016 as one that he was working on at the time. He had left himself a reminder on his smartphone to "write a vocal melody" for it.

The Road Not Taken

The Boys' setting to music of one of American poet Robert Frost's best-known poems, published in 1916. It's among the songs they've composed so far as part of a prospective project of setting poems to music "for schoolchildren to sing."

Satisfaction
Guaranteed

"A
quick dance track" that Chris worked on in November 2000, during the Release sessions. (It's possible, however, that this is not a PSB original but rather a cover of an old Gamble-Huff song recorded by Harold Melvin and the Blue Notes back in 1973.)

7/4

A
still incomplete track, with only this working title derived from the fact that
it's written in 7/4 time. Not much else is known about it, but it's almost certainly
not a "dance track." (Have you ever tried to dance to music in 7/4 time?)
Could this, however, be an ancestor of one of the tracks in their Battleship
Potemkin film score ("Comrades!"
and "Odessa") written in seven-time?

The name Chris assigned to a backing track he began working on in February 2011. It quickly evolved into "Memory of the Future."

Six Free StickersakaSmash HitsakaStick It On

This brief track was recorded in the early 1980s, before the Boys made the big-time with "West End Girls," as a radio commercial for Smash Hits magazine, where Neil was still working at the time. It can be heard in the 1996 BBC radio documentary About Pet Shop Boys, which was later released as a limited-edition CD for the official fan club, and again on the 2012 BBC Radio 4 broadcast "Neil Tennant's Smash Hits Christmas." It was apparently the first time they had ever been paid for anything under the name "Pet Shop Boys."

Skeletons in the Closet

Written in March 2015 and worked on more the following month—another of the many songs composed during the sessions leading up to Super. Neil has said that they may incorporate it into a future version of their musical Closer to Heaven.

Slow Motion

The original title for an unreleased song that would soon be slightly renamed "In Slow Motion" (as noted above).

Sooner or Later

An erroneous title supplied by Bobby "O" Orlando for "Later Tonight," an early version of which the Boys recorded with him in 1984.

Telegraph
Boy

This
rather scandalous track written by Neil and Chris in the late 1990s allegedly concerns "telegram deliverers
supplementing income as rent boys."

There's a New Boy Down in Town

A very early song that our musical heroes wrote together before they had their first hit. Whether it's the exact same song or somehow related to the aforementioned "A New Boy in Town," however, is uncertain at this time. They happened upon an old recording of it on cassette in 2015 during the search that unearthed "One Hit Wonder" and realized that they quite liked it. So they may yet decide to resurrect it in some way.

Thick as Thieves

Originally bearing the placeholder title of "Fragment," this song was written and demoed by the Boys while they were working on songs for Elysium.

Thoughts Are Free

The Boys' setting of a German poem, "Die Gedanken sind frei," that dates back at least to the early 1800s. (It has previously been set to music and has long served as a German folk song—with both the poet and composer unknown—but the new PSB music is original.) They worked on it in November 2011, again during their writing sessions for Elysium, although they envisioned it as part of their aforementioned project of putting various poems to music.

Though sharing a title with the classic Lambert, Hendricks, & Ross jazz-vocal song from the 1950s (later famously covered by Joni Mitchell), this is instead a PSB original composed by Chris in late January 2015. It sounds as though it's still an instrumental for which Neil hasn't yet supplied any lyrics.

Unbelievable
Scenes

The
Boys reportedly wrote this in 1998 with a view toward offering it to Robbie Williams,
but never finished it. They resurrected it in January 2005, at which time it began
to evolve into "Fugitive."

First called "Married," the Boys wrote this in Berlin (appropriately enough) in May 2015 as a wedding present for a friend. It was, in fact, played at their wedding reception, serving as the new married couple's first dance. It reportedly starts with Felix Mendelssohn's famous "Wedding March" from 1842 (frequently played at the conclusion of wedding services), but quickly deviates from it, becoming "techno-y." They're seriously considering releasing it to the public at some point after revising its lyrics to make it "less specific" (such as by deleting or replacing the names of the couple for whom it was written).

We're Not Going to the Opera (aka "The Opera")

PSB apparently worked on this song with co-producer Andrew Dawson during the sessions for Elysium, but either they didn't finish it or they simply decided against including it on the album. Neil described it on two separate occasions as "a folk song about being gay in the 'eighties" and "a folk song about Clause 28." (Clause 28 was an extremely controversial law enacted in Britain in 1988, repealed in 2000, that outlawed the "promotion" of homosexuality in schools.)

What
Would I Know?

Neil
considers this "the worst song he's ever written." As such, it may never
come to light.

Where the Wild Things Are

The Boys wrote this in collaboration with Xenomania's Miranda Cooper during the Yes sessions. They took it as far as the recording stage, complete with orchestration and a spoken intro. But then Neil and Chris decided to scrap it. They instead appropriated part of its melody for "More Than a Dream," which indeed made it onto Yes.

Why Do I Love You?

Also somethines referred to more simply as "Do I Love You?" It was composed during the Super songwriting sessions, based on a Vivaldi chord change. It soon, however, evolved into "The Dictator Decides," though with totally new lyrics. The original lyrics (which Neil feels were "like Bryan Ferry") included the lines:

Why do I love you?
What am I to you?
Do you see right through me
When I speak to you?

Written in January 2008 from the point of view of their late friend and associate Dainton Connell about his wife Mandy. Neil writes in his diary that he "can imagine Suggs [the vocalist for Madness] singing it."

Yes
in a No Kind of Way

This track apparently sounds, as Neil once described it, "a bit like Madness and a bit like The Walker Brothers." He and Chris worked on it in
1994 but apparently haven't gotten around to finishing it.

This song was, like "Pandemonium," one of several written for Kylie Minogue in 2007 or early 2008 but rejected. Neil has described it as "a really good, funny song." Abandoning its lyrics, however, he and Chris decided to incorporate its music into The Most Incredible Thing as the instrumental "The Competition."

In addition, here are
the titles of some other unreleased tracks that have been reported by various
other fansites (most notably Euphoric, So Pet
Shop Boys, and the now seemingly defunct "Pet
Shop Boys Reality") but about which I have no information whatsoever. If anyone
can provide any details regarding these songs,

Faster

Holding Back

Nearly But Not
Quite

Private
Places

What
Does It Feel Like?

Why
Not?

There's also an unusual "special case" that I would be remiss to ignore –

Do You Get Love? (aka "At the End of the Day, Do You Get Love?")

The first version of this song was co-written by Ray Roberts (together with a female singer with whom he was working at the time), at whose small studio the Boys composed and recorded some of their earliest demos. Neil, upon hearing it, liked its "Do you get love?" refrain and thought "the backing track was lovely," but felt that the verse melody and lyrics could be improved to make it more "romantic and wistful." Ray agreed, so Neil wrote a new melody and lyrics, after which Neil sang—"particularly high," as he has put it, "full of sexual longing"—atop the original backing on a new demo. It was never intended to be a PSB track, however, the idea being that the original female singer would re-record it. But that never happened. If it ever had been completed and released, Neil surely would have merited a co-writing credit. Since, however, Mr. Roberts has now passed away, it's unlikely this song will ever reach the public's ears.

Finally,
here are the titles of several songs written solely by Neil before he met Chris:

This
was the most popular of the original songs that Neil wrote and performed
with his "hippie folk band" Dust in the early 1970s, years before he met Chris.

I
Heard What You Said

A pre-PSB song written by Neil from which he repurposed some lyrics to become part of "I Want to Wake Up."

The Sound [?] of the Peaceful Day Before War

To the Waters and the Wild

What Is the Colour of the Wind?

Three other Dust songs dating from 1971. The second word of the title of the first of these songs is uncertain.

She's
in Love with the Man She Married

Neil
wrote this song in the late '70s. He says that it concerns a woman who has a brief
holiday fling with a younger man, but she decides not to leave her husband because
she's still in love with him. He and Chris toyed with the idea of recording it
with Dusty Springfield, but nothing ever came of it.

She's
So Eclectic

Summer
Rain

The
Taxi-Driver

Telephone
Blues

Apparently
these four songs were also written solely by Neil shortly before met Chris. He
made simple solo demo recordings of some (but not all) of them in 1981. Regarding the last of them, the thought of Neil writing and recording a "blues" number strikes me somehow as singularly incongruous.

Has
Anyone Seen My Cat?

Neil
wrote this song when he was just nine years old. In fact, he wrote an entire musical
titled The Girl Who Pulled Tails, of which this song was a part! Now, how
precocious is that?